México Inside Out: Themes in Art Since 1990 at the Modern Art Museum of Fort Worth ranks as the largest exhibition of contemporary Mexican art in the U.S. in over a decade.

As an introduction to the work of Marina Abramovic (Belgrade, Yugoslavia, 1946) Sarah Lyall wrote in The New York Times dated October 19, 2013: “In the name of art, she has hung naked on a wall and carved into her own stomach with a razor..."

Taking the temporal and spatial axes as conducting thread, the exhibition A Language beyond Form (Un lenguaje más allá de la forma) constitutes a poetic incursion into our existential labyrinths, using the refined plastic forms of abstract and/or conceptual nature of ten Latin American leading artists as vital trigger.

What are the applications for such a title? It could be a pulled from a manual of any sort, instructing us how to put up wallpaper, bandage a wound, or any type of industrial assemblage.

We can imagine Luis Terán’s studio as a great building work, full of materials scattered all over the floor and with construction workers wearing hard hats swarming about.

Beyond the vernacular-artistic manifestations that strive to understand what is produced in and from the Caribbean as an eclectic amalgamation of ancestral and cultural links, the work of artist Zilia Sánchez (1926) has developed amidst notions of rupture, which have a long tradition in the modern and contemporary art production of Latin America.

Enrique Martínez Celaya’s summer 2013 exhibition at SITE Santa Fe follows a 2011-12 installation of Schneebett (2004) at the Miami Art Museum, and provides an opportunity to survey his career.

For many of the people who are part of the field of art, the first artistic project that Nicolás Paris publicly inscribed in the world was the book Doblefaz, published in 2008.